Nicholas Manning

Nicholas Manning spent his youth in the semi-tropical forests of Australia’s east coast. He then studied literature and Romance languages at the University of Queensland, where he took his Bachelor degree. In 2003 he won a scholarship to France’s Ecole normale supérieure, and crossed the Pacific to the Old World. He has been there since. In 2004 he received his MA in contemporary poetics from the Sorbonne, and he currently teaches comparative literature at the University of Strasbourg II while working towards his PhD. His first chapbook, entitled NOVALESS, is out this year from Achiote Press. He maintains a weblog at www.thenewermetaphysicals.blogspot.com

He is the editor of The Continental Review: an internet poetics magazine which features readings, reviews and interviews by poets and writers, all exclusively on video. The first video-only magazine for contemporary poetry and poetics, The Continental Review is also entirely integrated with YouTube and other video sharing sites. (Please note: The Continental Review is now open to submissions!)

1) What projects are you currently on? (Include issue #s, books, chapbooks, broadsides, special projects, print and web).

The Continental Review is currently my only editorial project: it takes up all of my time. There are filming slots to arrange, interviews to organize, readings to attend, music to buy, clips to edit. With my first chapbook out, I’m currently giving some readings while working simultaneously on two full-length manuscripts. One is entitled HOMO SENTIMENTALIS: A GUIDE IN VERSE TO MODERN EMOTIONAL INTIMACY. The other is the entirety of the NOVALESS suite. Also, I’m writing my PhD.

2) What has been your biggest challenge as a poetry publisher/editor?

The problems for The Continental Review were primarily technical in nature. We had to work out the best way for the website to function. Would there be quarterly issues? Issues with video didn’t seem appropriate. We wanted it to be continually updated, so as to resemble at once a weblog, a magazine and a continually expanding archive. The other technical concerns were for our contributors. A number of writers I would love to feature have said they either do not have access to a video camera in any shape or form, or feel very unsure technologically. This remains, for the moment, a hurdle to overcome.

The other challenge has been publicity. The Continental Review has at least created a small buzz. We’ve been featured in Australia’s national newspaper, on Bookninja and Bookslut, and on the University of Iowa’s site thanks to the extraordinary Jordan Stempleman.

One of the primary motivating factors of the site, however, was to attempt to open contemporary poetry to a wider audience by the use of new(er) media. Currently, one would have to say that the success of this particular goal is looking rather shaky. Interest, though strong, has remained fairly restricted to known poetic circles. For it to expand, we’ll perhaps need a greater general degree of participation from poets and writers who recognize that this is a powerful new way to disseminate their work.

3) Do you regret any paths you have followed as a publisher/editor?

At TCR we feature three things: video-readings (the vast majority), video-interviews, and (in theory) video-reviews of contemporary poetics and fiction. I regret that the specific genre of the video-review hasn’t, so far, taken off. I admit it’s challenging: formulating coherent literary opinions and arguments in front of a camera does demand a very specific ability. It is difficult, the proof of which is that I haven’t yet dared attempt it myself. The time will come, however, and hopefully soon. That said, any reviewers or critics who are interested in reviewing poetry or fiction on video, for a short 10 minute stint, should get in contact with us at The Continental Review ASAP. We’d love to get this new forum of video-reviews off the ground.

I also regret the unfortunate imbalance at the moment between male and female contributors. This is in no way intentional: I’ve actually sent more invites to women writers than I have to men. Unfortunately, the positive response rate from female poets has been dramatically less. I’m fascinated to know why this is: some have underlined technical concerns, but many it seems have simply felt less sure of the specific value of video presentation of their poetics. This raises, of course, many questions: of image, of media bias, of warranted suspicion. Considering though that two of my personal favorite videos on the site are by two of my favorite poets – namely, Allyssa Wolf and Eileen Tabios – this is a situation I’d like to see rectified. So, to the wonderful women writers of the web: borrow or buy a video camera and submit, submit, submit.

4) Name one poet who has not appeared in your publication which you would love to have included and why.

I must abuse the privilege by putting more than one: Lyn Hejinian, Andrew Joron, Clayton Eshleman, Peter J. Shippy, Pierre Joris, Rae Armantrout, Peter Manson, Michel Deguy.

5) Who is the designer of your web site and how much input do you have in the design of the web site and the other design elements including covers for books, etc.?

I began designing the site with a French colleague who subsequently got snapped up by a marketing firm. Halfway through the process, then, with the main coding done, I picked up the reins and, over a one month period, finished the site myself. At the moment I’m helped by others along the way, who take care of occasional filming and editing. But I have entire control over the form and content. Yes, it is all my fault.

6) What recognitions have you received as a publisher/editor?

Recognitions? I have the privilege of putting extraordinary work by extraordinary poets out into the ether, to be absorbed and disseminated. They are personal visions of a poetic life: poets as they truly, or want to, appear. More concretely, I occasionally receive an email of heartfelt thanks, or someone who, when we meet for the first time, tells me they love the site. And I’ve had the chance to meet, film, interview, incredible people (in person, Joshua Clover, Cole Swensen, Jean-Michel Espitallier . . . ) What more could one want?

7) Where do you see your publication/editing in 5 years?

I could be blithe and say: 5,000 hits a month, 2,000 YouTube subscribers and perhaps a Poetics TV! spin-off? But do I really see it heading there? Video poetics, in a magazine format, is still a burgeoning idea. But it is gaining momentum. There are more and more important sites, such as Meshworks or the expanding video content over at PENNSound. And, what is more important still: there are more and more poets and writers filming themselves, or integrating video into their own production and performances. And we’d love to feature them all at TCR. Miranda July?

8) What are some of your other interests?

Running. Contemporary theatre. French cinema of the 60s: Varda, Truffaut. European languages. Theory. Criticism. Conversation. Food. Sex.

9) What is your favorite poem as of today and why?

Louis Zukofsky’s “Anew”: “Come on Catullus, you can take it!”

10) Recommend a poetry book, blog or web site to our audience (not from one of your press) and why.

Can I do all three? A poetry book: Louis Zukofsky: Selected Poems (Ed. Charles Bernstein, 2006). Say goo’night to Eliot, bu-bye to WCW: teachers, teach THIS.

A blog: so many, but to mention one, Simon Dedeo is doing a good job with provocative, disinterested poetry criticism.

A web site: Bookslut. It’s great.

11) What is the most exciting aspect of being a poetry publisher/editor?

Meeting, or corresponding with, your mentors, your heroes, those you admire. Being touched by them. Being stunned by them. Being convinced, by their presence, that it’s all worth doing.

12) Leave us with a recipe for poetry.

“A human being is only breath and shadow” – Sophocles